Delay, Estrangement, Loss: The Meanings of Translation in Claude Lanzmann's Shoah (1985)
Bibliographic record
Abstract
The common denominator of any translation is delay: this delay is a matter of time and space, a temporal displacement (which is one of the ways of defining “translation”), a delay that exacerbates the ontological differentiation process between sign and meaning. 2 Between the moment a text or an utterance is produced, printed and received (read, heard, understood by someone), the process through which it is engaged, and the moment it reappears, is re-uttered, reinscribed, translated, time necessarily takes place, something is displaced. Throughout this process of estrangement, which also entails a degree of loss, different intermediar ies, institutions and medias (texts, speech, readers-listeners-translators, dictionaries, publishing houses, rights owners, international law, recorders, note pads) are engaged at different levels that very often, in the end process, tend to disappear as medias and intermediaries (as often medias should, according to a certain doxa), fulfilling a certain desire for commu nication transparency that is happily resigned to blissful blindness. While one needs to resist metaphorical spins, it is certainly possible to describe translation, on an epistemological level, as a medium, a milieu, a zwischenraum in which a body of statements are voluntarily and forcefully, and often without consent, pulled in and submitted to a certain treatment that works both locally (discreet units) and globally, to transform it. If, more often than not, this translation as medium is invisible to the reader or the listener (limited to the liminary “translated from,” the occasional bracket that reinstates the “original” within the foreign tongue, the translator’s note, the dubbing or simultaneous translation that erases or overlaps the original speech), there are cases where the translation as medium appears, and this is particularly the case—although not exclusively, as many examples in this issue show—in the audiovisual realm. As is often the case, a medium appears when it seems to be working differently as expected,
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.003 | 0.005 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.006 | 0.044 |
| Scholarly communication | 0.006 | 0.014 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.004 | 0.006 |
| Insufficient payload (model declined to judge) | 0.004 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".